Posts Tagged Dubstep

Fall break – a quick retrospective; Flying Lotus review

I ate sooooo well.  I thank the Thompson family for this profusely.  I ate really damn well.  I also did another thing a lot, and it was better than it is at Oberlin.  I won’t get more specific than that.  I also found hard copies of Pinetop Seven albums (my two favorites to be exact), which had previously been mysteriously erased from my hard drive.  A quick look at my favorite albums ever will tell you that my two favorite Pinetop Seven albums are two of my favorite albums ever.  This was important.  I can not tell you how surprised I was to find these CDs (used! someone else has listened to this band!) in a store in Dallas.  Thank you, Dallas.

I also got a chance in Dallas to do a lot of listening to music, so I’m all set for a little while as far as subject matter for the blog goes.  First up is a CD that’s been growing on me steadily for a few weeks, after I got my hands on it much earlier(it was then ignored for a long while).  It’s called Los Angeles and it’s by this guy who calls himself Flying Lotus, which sounds both like an emo poem and a karate technique.  But neither of the two have much to do with the music, which is kind of like dubstep (a genre that I touched upon in this review, in which I linked to this Wikipedia article that attemps to explain it), but since no one really wants to come out and just call it dubstep, I don’t think I’ll rock the boat.  I think it may be that this album has a little brighter feel than the generally overpowering dread that powers dubstep.  It’s instrumental hip-hop at its core, I guess.

A quick way to decide whether or not you will enjoy this album is to think to yourself: do I mind almost constant, sometimes-subtle, sometimes-not static as an instrument in music? Because it’s used basically the whole way through, and if you’re going to be annoyed by something like this, small as it is, then it’s best you skip it and ignore what’s going to be a positive review from me.

Of course, that’s only a first test.  If you don’t mind static, then the rest of the music is still left.  Like all instrumental hip-hop, it’s focused on the beat, which goes beyond just drums.  As far as I know, the drumbeats here are all drum machine or samples, which is fine.  But there’s also the prominent sub-bass, which is what makes me think it’s a lot like dubstep, and some auxiliary percussion like the bells in “Camel”.  That means that to get the full effect of this music, don’t listen to it on crappy laptop speakers.  These beats are simple and cool, and they subtly progress in each track like a good little instrumental track should.  But the tight packaging of each track, as opposed to painfully long techno songs, make this a very accessible record for the electronoob.

Above the beats, all bets are off, as the (electronic) instrumentation is different on each track and is always super-cool, though there’s a very strong common thread throughout the record.  That’s how I would describe this whole album – just plain cool.

To get a little bit more specific, a few of my favorite tracks are “Comet Course,” a bit more uptempo than the rest of the album, and a bit more cosmic, as the title suggests, but still in the overall milieu and an awesome beat, “GNG BNG,” which has two separate and completely awesome beats which I always bounce too, and “RobertaFlack,” which seems a lot like just an electronic version of a cool jazz track.  Very mellow, very groove-oriented, and with some wispy female vocals snuck in there (that happens more often as it gets towards the end of the album – still, we call it instrumental because the voice is just part of the mix – wholly an instrument as opposed to that term being lauded upon just a great singer, ahem Fleet Foxes).

P.S. – Did I mention that Flying Lotus, real name Steven Ellison, is Alice Coltrane’s great nephew? Alice Coltrane was John Coltrane’s wife, don’tcha know.

P.P.S. – Thanks to the one person who voted in my last post’s poll.  I know it’s only been a couple of days, but really, guys? I thought somebody read this blog.  I guess it’s just a little more masturbatory than I thought.

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You have not heard of this guy, I’m sure: Skream review

We knew it would come to this eventually. Of all my friends, I’m the only one I know who listens to instrumental-electronic music actively. And I’m not talking about Daft Punk or just random techno shit. One genre that I’ve been into is dubstep. My relationship with it is a weird one. I know basically nothing about it. Nothing. I don’t know what classifies dubstep as dubstep, despite reading the Wikipedia article, and I don’t know what separates good dubstep from bad dubstep.

In fact, I didn’t even know that dubstep existed until I read Pitchfork’s Top 50 Albums of 2007 list, where Burial came in at number 10, so I looked around for him, and found music the likes of which I had never heard – but I really liked it, in a weird way.  I now know that Burial, in addition to sounding nothing like the rest of the music world, also sounds nothing like the rest of the dubstep world.

Dubstep, as I understand it, is all about fucking HUGE bass lines, minor keys, slow paces, and electronic instrumentation.  From there, the influences that can be traced have no significance to me – things like grime, 2-step, dancehall, and simply “dub”.    From what I can gather, these are all combinations of reggae influences on the British underground electronic music scene, which is huge and varied.  Dubstep is a totally new genre, just getting its start in the mid-2000’s, so it’s not totally concrete in itself.  Needless to say, just reading about it is interesting, and there are lots of places to get free samplers and mixtapes (which are apparently a large part of the dubstep scene, since full albums are rare, but singles are all too common).  That being said, Burial has made two full albums, which I enjoy, and other full-lengths I’ve gotten my hands on include Memories of the Future by Kode9 & the Spaceape (Kode9 is apparently the biggest name in dubstep), Diary of an Afro Warrior by Benga, and Skream! by Skream, which I will be reviewing here.

It’s hard to review something that you can’t quantify as good or bad – all I know is that I like this album and it’s really listenable for me.  I honestly can’t say that it would be for anyone else I know – dubstep has been the one thing I’ve been reluctant to push on people (if you know me, you know that’s a big deal).  Skream! was released in 2006, so dubstep has apparently moved beyond it at this point, but it seems like a good introduction, based on the more current stuff I’ve found.  It starts off with “Tortured Soul” which is a title that elicits groans from me, and it might be the weakest track on the album.  For someone looking to get into it, the only encouragement I will really give you is to tell you to be patient with this album – it reveals its goodness to me as I listen more, and I can tell it’s better than its first track as soon as its successor, “Midnight Request Line”.

This was the “big hit” before the full album came out; Skream released it as a 12″ and it quickly circulated.  It primarily utilizes ominous synth arpeggios over a syncopated bass line and minimal drum machine cymbals.  I found myself involuntarily head-bobbing.  Then the album kicks into high gear (quality-wise), in my opinion, with “Blue Eyez”.  Under an electronic reggae loop, you have the big bass line with a similar tune, but with added syncopation, and a more developed, but still unobtrusive drum line – and then the track shifts subtly, bringing the guitar in, changing the bass effects, and having a chorus of short “ah”s whenever the organ hits.

I don’t want to review every track individually, so just quick hits – the two vocal tracks, “Check It” featuring Warrior Queen and “Tapped” featuring JME are really fucking interesting, but I think I like “Check It” more; it seems more laid back and like a reggae party, whereas “Tapped” is about wiretapping, which is cool, but it’s too long to keep up the ominous Big Brother vibe. (Big Brother is actually name-checked in the song. Word.) “Stagger” probably has the best bass line on the album, “Rutten” has a fucking awesome flute part (hear that, Ben? something for everybody!) and a weird spoken-word monologue about “spliff politics” – what people do when someone’s passing around a spliff.  I guess this is a large problem in Britain.  “Summer Dreams” really just sounds like a salsa-jazz song with an electronic rhythm section.  It probably is.  It’s good though.

Overall, I like this album a lot – but I just have no idea whether it’s a “good” album and I don’t want to pass myself off as an objective judge – at least in this genre.  Other genres, where I have some background, I will judge until the cows come home

An additional note for those who either were patient enough to read to this point or impatient enough to scroll to the bottom: We have new contributors not named Matt Rothstein! Exciting! In all likelihood, the next post you will see on this website will be written by the inimitable Kriti Godey, and will introduce a new TV reviews section! That means that if you wanted to be a contributor, but felt left out because you only wanted to review TV shows, Kriti has blazed a trail for you! Exciting! I look forward to furthering the collaborative aspect of this blog, which should happen with posts in the near future from other people who, like Kriti, have blogs already but feel that this blog is okay too: Ben and Nicole (furious applause!!!!)!!!!!

I’m glad this post could end on such a happy note.  Thanks all.

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